Cangaço novo: os jagunços-motoqueiros chegam a em "A Noite do Espantalho", de Sérgio Ricardo
Cangaço novo: os jagunços-motoqueiros chegam a em "A Noite do Espantalho", de Sérgio Ricardo

Sucesso notável em seu lançamento, com 2,4 milhões de acessos nos três primeiros dias de funcionamento, a plataforma pública e gratuita de streaming Tela Brasil surge colocando ao menos um ponto de interrogação no senso comum que garante de boca estufada, há séculos, que a população brasileira não gosta de seu próprio cinema.

Com um catálogo inicial 555 obras produzidas entre 1910 e 2025, a iniciativa do governo Lula (com um investimento de R$ 9 milhões) reúne, segundo a Agência Brasil, 267 curtas-metragens, 139 longas, 85 médias ou telefilmes e 64 seriados.

No ponto de partida, as produções foram licenciadas através de financiamento do Fundo Setorial do Audiovisual ou a partir do acervo do chamado sistema MinC (Ministério da Cultura), junto a instituições como a Cinemateca Brasileira, a Funarte e a Fundação Palmares.

Quem chegou ao novo canal de streaming (inaugurado no sábado, 30 de maio) teve de ser perseverante à maneira bem conhecida pelos usuários do portal Gov.Br, com obstáculos que rapidamente se tornam um teste de paciência para quem estiver disposto a assistir sem qualquer taxa ou pagamento a filmes e séries brasileiras via web (não há, pelo menos de início, uma versão televisiva comparável aos titãs imperialistas Netflix, Amazon etc.).

São de fato muitos os obstáculos. Para acessar a totalidade dos serviços (a ferramenta de busca, por exemplo), é preciso estar logado no Gov.Br, o que jamais constitui uma tarefa simples. Não bastassem os muitos passos e as muitas mensagens de erro pelo caminho, nesse primeiros dias assistir a um filme na Tela Brasil inclui travamentos frequentes e a qualquer descuido a conexão ao Gov.Br pode cair, nalguma operação de troca de janela no computador ou coisa parecida. Aí é preciso recomeçar do zero o calvário pelo Gov.Br. De modo geral, há passos demais separando o espectador da Tela Brasil de seu precioso conteúdo.

O que há na Tela Brasil

Embora a plataforma seja amigável no geral, há muito a ser reparado no funcionamento de nosso “Brasilflix”, desde os detalhes mais banais – por exemplo, na versão web do ranking dos dez filmes, é impossível enxergar ou acessar o quinto colocado. Logo no topo do portal, a lista dos dez títulos mais vistos não tem variado nestes dias iniciais e enfileira cinco nas primeiras colocações A Hora da Estrela (1986), de Suzana Amaral, Deus e o Diabo na Terra do Sol (1964), de Glauber Rocha, Carandiru (2003), de Hector Babenco (2003), O Órfão (2018), de Carolina Markowicz, e a animação O Menino e o Mundo (2014), de Alê Abreu.

Os cinco mais ilustram (em parte) a amplitude do cinema nacional: abrange um intervalo de seis décadas entre todas as possíveis na longa linha do tempo entre os primórdios do cinema brasileiro, no final do século XIX, e as três primeiras décadas do XXI.

Contornados (ou tolerados) os obstáculos, abre-se um portal para o paraíso aos apreciadores da produção nacional e/ou quem esteja disposto a desafiar os próprios preconceitos e posturas coloniais. Mesmo com um número ainda limitado de títulos, a riqueza e a diversidade do tesouro reunido na Tela Brasil é formidável, e a garimpagem ficará a critério de cada herói e heroína dispostos a varar a trilha de filmes a facão.

Um aspecto notável, entre inúmeros verificáveis, é a sinergia entre o cinema nacional e a área mais popular de nossa cultura entre os brasileiros, a música popular. Um cartão de visitas ao mesmo tempo fascinante e desafiador é o raro filme A Noite do Espantalho (1974), assinado pelo paulista Sérgio Ricardo (1932-2020), também cantor e compositor em atividade desde 1958.

Na música, Sérgio deu os primeiros passos em sintonia com a nascente bossa nova e, nos anos 1960 e 1970, entregou-se de corpo e alma à canção de protesto (em 1967, na eclosão da tropicália, ficou notório pelo emblemática e violenta reação que teve às vaias a seu samba “Beto Bom de Bola,” quebrando o próprio violão e se retirando do palco).

Nas telonas, o artista debutou cedo como diretor, com o curta-metragem O Menino de Calça Curta (1961) e o longa Esse Mundo É Meu (1964), um representante exemplar do cinema novo, além de inspirador de Gilberto Gil na composição da alegórica canção “Domingo no Parque” (1967), a segunda colocada do mesmo festival da canção em que Sérgio Ricardo destruiu seu violão.

Ele é, além disso, o autor da antológica trilha sonora de Deus e o Diabo na Terra do Sol (o segundo filme mais visto dos primeiros dias da Tela Brasil), povoada de cordéis, repentes e ritmos nordestinos. A Noite do Espantalho é glauberiano (e sergiorricardiano) dos pés à cabeça, inclusive na simbiose audiovisual entre cinema brasileiro e música brasileira.

Seu filme amplificou a imagem e a voz de dois cantores e compositores (e aqui também atores) pernambucanos, então ainda em início de trajeto: o espantalho do título é vivido por Alceu Valença, e seu então parceiro musical Geraldo Azevedo enfrenta o personagem secundário Severino, nessa miscelânea cinematográfica que mistura Canudos, Morte e Vida Severina, cinema novo, tropicália e psicodelia.

Alceu Valença como o espantalho crucificado de Sérgio Ricardo

A Noite do Espantalho floresce na tela como uma ópera nordestina, proletária, glauberiana e de protesto, filmada inteiramente no dito (nos créditos iniciais) maior teatro a céu aberto do mundo, na cidade-teatro Nde ova Jerusalém, localizada no município de Brejo da Madre de Deus, Pernambuco, e palco até hoje de retumbantes encenações anuais da Paixão de Cristo.

O Jesus Cristo de Sérgio Ricardo – o alegórico espantalho vivido por Alceu Valença – é camponês, pastoreador de ovelhas e cabras, saltimbanco e órfão da terra, num Brasil latifundiário sob regime militar de direita radical, alegorizado no filme pela figura do coronel mandachuva do povoado fictício de Cajazeira, interpretado por Emanuel Cavalcanti.

Se Glauber Rocha inspirou Sérgio Ricardo, este exerceu o mesmo papel sobre o imaginário de um dos cineastas mais celebrados atualmente no Brasil (e não só no Brasil), o pernambucano Kleber Mendonça Filho. Seu filme Bacurau (que não está na Tela Brasil), de 2019, recolhe citações à Noite do Espantalho. A mais evidente é a gangue de motoqueiros-jagunços com asas de inseto liderada por Zé do Cão (José Pimentel) que perfura o serão a serviço do coronel, via rodovia, e chega ao palco de encenação brechtiana do drama. Nas canções, as vozes do herói Zé Tulão (vivido por Gilson Moura) e do antagonista Zé do Cão pertencem, ambas, a Sérgio Ricardo, como a dizer que camponês explorado e jagunço brutalizado são faces da mesma figura marginalizada e enjeitada pela sociedade.

Também têm parentesco com A Noite do Espantalho os esconderijos subterrâneos do povoado de Bacurau, as cenas filmadas na escuridão noturna e os ares de rebelião popular tomados pela população espoliada que enfrenta os gringos praticantes de safáris humanos. Se nem A Noite do Espantalho o povo sai derrotado frente à tirania do coronel, Bacurau exorciza derrotas históricas e alegoria um “mais fortes são os poderes do povo”.

A propósito, foi Sérgio Ricardo quem apresentou, na canção “Bichos da Noite” (1967), o pássaro noturno bacurau: “São muitas horas da noite/ são horas do bacurau”. Entre os aboios, repentes e cantos de protesto compostos por Sérgio Ricardo para A Noite do Espantalho, a evocação aos seres alados se repete: “Cante que só passarinho/ jogue o corpo na canção”.

Tela brasileira, música brasileira

De volta à Tela Brasil, é abundante a quantidade de títulos em que a música participa como co-protagonista. Citamos abaixo mais cinco exemplos entre muitos encontráveis na garimpagem às minas raras da Tela Brasil.

Orfeu Negro (1959) – Dirigida pelo francês Marcel Camus e vencedora do Oscar de melhor filme estrangeiro em 1960, a produção ítalo-franco-brasileira carnavaliza as favelas cariocas, baseia-se em peça teatral musical escrita por Vinicius de Moraes e participa do momento de fundação da bossa nova, incluindo duas peças inéditas musicadas por Tom Jobim, os futuros clássicos da bossa “A Felicidade” e “O Nosso Amor”. Agostinho dos Santos canta “Manhã de Carnaval” (de Luiz Bonfá e Antonio Maria), que no mesmo ano seria imortalizada na voz nova em folha do baiano João Gilberto.

Pra Quem Fica, Tchau! (1971) – comédia ligeira dirigida pelo também ator e galã Reginaldo Faria, essa produção esconde uma preciosidade em suas saliências e reentrâncias: em três canções dispersas ao longo do filme, aparece uma voz masculina peculiar e então complemente anônima. Como os créditos finais são interrompidos pelo meio, não é possível comprovar se o jovem Ney aparece creditado desta forma, como foi batizado no compacto com a trilha do filme, antes de adotar o sobrenome artístico Matogrosso e dois anos antes de explodir como figura de frente da banda Secos & Molhados.

Álbum de Música (1974), de Sérgio Sanz – No mesmo ano de A Noite do Espantalho, o documentário em curta-metragem com dez minutos de duração fala sobre a aurora do samba e exibe fotos, raríssimas imagens em movimento e entrevistas de figuras históricas do início da indústria fonográfica brasileira, como Almirante (falando sobre o dito primeiro samba da história, “Pelo Telefone”, de 1916, e sobre Noel Rosa), Pixinguinha e Benedicto Lacerda (tocando “Um a Zero”), Ismael Silva e Nelson Cavaquinho (cantando seus sambas em rodas de mesa de bar), Cartola (em sua célebre casa verde e rosa na Mangueira, ao som de “Acontece”), Clementina de Jesus (elegantíssima andando por uma rua interiorana). Pertencente a uma geração bem posterior, o jovem Jards Macalé surge pulando no bonde em Santa Teresa e a jovem Nara Leão discorre sobre a bossa nova. “Tenho a impressão que foi a primeira vez que pessoas de cultura fizeram música popular, que antes era feita somente pelas pessoas do campo ou pelas pessoas do morro”, afirma Nara, escancarando a cisão de classe social promovidda pela bossa.

Partido Alto (1982) – Curta-metragem dde 23 minutos dirigido pelo cinemanovista histórico Leon Hirszman, com colaboração creditada a ninguém menos que Paulinho da Viola, Partido Alto antecede a geração de samba de fundo de quintal que já começava a botar as asas para fora na virada para os anos 1980 e focaliza Candeia (que havia morrido em 1978, aos 43 anos), à frente de uma afogueada roda de samba. Somam-se partidos bravos como “Filosofia de Samba”, flagrantes saborosos da confraternização no quintal da casa do compositor, falas de Candeia sobre os sentidos do subgênero “rock pesado” do samba. Percorrendo um simbólico arco temporal, a roda de partido começa à luz do sol e avança pela noite e pela madrugada, nos minutos finais do curta. O elenco coadjuvante de sambistas portelenses reunidos em torno de Candeia é espetacular, com Monarco, Manacéa, Argemiro Patrocínio, Wilson Moreira, Casquinha e, obviamente, Paulinho da Viola.

Projeto Pixinguinha (2006) – A série documental em 11 episódios evoca o projeto musical desenvolvido na Funarte por Hermínio Bello de Carvalho (entre outros), com shows de antigos e novos nomes da MPB em caravana pelo país, ainda em plena vigência do regime militar. É curioso perceber as diferenças entre os governos fascistas de então e os neofascistas de agora, no modo de se aproximar da música e do cinema conterrâneos. Além do Projeto Pixinguinha, títulos como Álbum de Música e Partido Alto saíram diretamente das entranhas da ditadura, via Ministério da Educação e Cultura e Embrafilme, e não se assemelham em nada a desventuras do tempo presente tipo Dark Horse. É quase inacreditável, mas a Tela Brasil dá subsídios para verificar que diferentes épocas produzem estirpes distintas de extremistas de direita e odiadores da cultura e das artes.

 

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